Hi Everyone,

I've been a member of the Café for quite a few years, and I've found it to be an invaluable resource. I'm hoping that someone can help me with a dilemma that I'm in.

First off, let me say that I love magic. I've been hooked since around 2000. I've spent countless hours reading, practicing and watching instructional videos in an effort to improve my magic. I don't get to perform very often, but when I do I look forward to it and it helps me to improve. That being said, over the past few years I've been struggling with the degree to which magical secrets are readily available online. I know that this topic has been discussed at length on the Café, but, in this case, I'm not interested in the ethical dimension of exposure; Instead, I'm more concerned about the kind of vulnerability that I feel knowing that an audience can discover the secrets to many of the effects that I do within seconds. That in some cases it would be just as easy to discover how an effect was done as it would be to check what the weather is like in Florida. It's been pointed out that most audience members wouldn't bother looking up this information, but the fact that they could really bothers me. In fact, I've been finding that this sense of vulnerability increases my anxiety about performing to an uncomfortable level at times.

My sense of vulnability is increased by reading through the comments section of YouTube videos showcasing professional magicians. The comments are rife with people exposing and deconstructing effects that probably took years of study and practice to perfect. When I read these comments I feel intensely embarrassed, almost as if I were the one being publicly exposed. Many of the comments are disrespectful and insulting. Often the disrespect comes from learning the underlying simplicity of a method that is used to achieve an effect. On discovering the method some people callously dismiss the effect as 'stupid' or 'childish' even if they were fooled the first time that they watched it. I recall watching a performance by Smoothini on AGT, and the comment section was riddled with exposure. The same goes for Oz Pealrman's performance on the same show. Surely, the judges would catch wind of what had transpired either by Googling or perusing the comments section of the video. What happens to their impression of the performer when they discover the methods used to accomplish his feats? Maybe they would admire the skill involved, but surely any amazement is gone.

I distinctly remember how humiliated I felt when I first got into magic. One of my first tricks was a Svengali deck. I showed a couple of friends of mine a basic routine using the desk and they were astounded. Being the neophyte that I was, I caved when they asked what the secret was. This was my first lesson in the age old rule of not revealing the secret to an effect. Once they knew the secret they immediately dismissed the effect by laughing and saying that it was a 'silly' trick after all. Now, many years later, I find that I still get nervous about someone finding the method to an effect and dismissing it as 'silly' or 'stupid'. Most effects have a simple method, even if utilizing the method takes years of practice. However, it seems to me that most lay people don't care how long you've taken to practice something. Once the secret is known it is easily dismissed. As a magician, I'm fascinated by magical methods, but some lay people seem to take the view that, once understood, a trick is 'silly'. All of the magic is lost.

I recently saw a lecture where Daryl addressed online exposure videos. He indicated that seeing a routine exposed and butchered by a kid on YouTube really hurt him on an emotional level. I would say that this is how I feel about all of the online exposure, it hurts. I've actually left magic several times over the years because of this issue. I've thought about performing for the general public on numerous occasions, but I end up becoming terrified about the possibility of being exposed and therefore dismissed as a hack.

In short, I'm at a crossroads. I need to decide whether magic is something that I can continue to do despite the ease of access to magical secrets. Is it worth spending large amounts of time and money on an effect that people could easily find the method for, thereby resulting in my being dismissed and potentially humiliated. Or is it time to look for another hobby? I understand that you can sometimes rework an effect to try and elude exposure, but it's often difficult to know what's readily available online and what isn't.

Clearly there are many people who continue to perform professionally. Many of these people do effects that can be learned online in minutes, if not seconds, if someone was inclined to check. How do you deal with the thought that you could be exposed and dismissed much more easily than ever before? If you have ever performed on television how do you cope with the commenters who expose your act?

I think what I need is a new way of looking at magic, but I'm currently at a loss with respect to what this new viewpoint would be.

Thank you for taking the time to read this. Any advice would be very welcome.

I feel your pain brother. I was performing one time and it was going great. Then on person pulled out their phone and ruined it for the whole group. The one person immediately started showing everyone how I did my effects just so he could feel big with his smart phone. Hang in there. Look in books for effects that aren't readily available. don't buy any of the tricks on the major sites, they are prone to exposure. Also I want to say how its interesting how everyone always talks about these videos inspiring people. When there are people out there quiting because of them. Like I said hang in there brother and if you need anything let me know

If you are that worried and it is going to influence the decision consider it will not get better.

I have been performing full time professionally since the early Seventies. Exposure has never been a problem.

As this is strictly your feelings, it is clearly possible to bring them under control. Take a cue from pros like Pop Hayden and others and simply move on. One reason pros don't worry is that they know the method is a tiny part of mystery performance. The real art is in the presentation for which there is no exposure, if you think about it. Remember these exposers in some way seek attention for some reason. I would argue many are effectively psychologically 'broken'; something has happened in their lives that causes them to present this behavior. You can't be responsible for that and I at least would not even want to engage that sort of person even if I could. Not your problem at the end of the day. At least that's how I see it.

There is exposure, there always has been exposure and there always will be. And by good magicians too.

There was a good magician who wrote a book for magicians in which he said, “Don’t tell them how it’s done. Under any circumstances. Ever.” Then he went on to have a regular TV show and at every intermission a classic of magic was exposed.

One effect that was exposed was the coin in the dinner roll. I still do it all the time.

Let me make some suggestions:

1 Learn “sleight of hand” Learn the principles of “misdirection”. If you haven’t yet may I suggest you get and read and study “The Royal Road To Card Magic” which is an easy way to learn sleight of hand card magic.

2 The performance of magic is more than just fooling the audience – it is to entertain the audience. If you just try to “fool ‘em” it may be boring. You must entertain.

Few magicians fool me – I generally know what they are doing but I love watching them perform.

3 I have some very good friends that are magicians and some make their livings by entertaining teenagers at parties. Those teenagers have been on their computers and many do what you are noting and yet my friends have found a way around this.

You are doing this as a hobby – relax. If they know what you did but you use sleight of hand they will have to admire you. And if you have studied misdirection you will fool them. Look at Slydini.

4 Work out routines if you are going to do magic so that you are not “on too long” and you can one effect follow another in logical order. You might want to include one or two “sucker effects” where they think they have you – but they don’t.

Relax and enjoy our wonderful art.

Most people won't look it up. Some defiantly will, but most will be amazed. Keep doing magic for that majority.

Exposure grants you a license to get a little creative, and you can use it to your advantage.

I recently wrote up a routine with a Svengali deck. That has to be one of the most over-exposed items, what with some 17 million sold in the 70s as "TV Magic Decks." What I ended up with doesn't use the normal moves, disguises the deck well, and works in a deck switch at the end, leaving me clean.

More work? Yes. More fun too. And at the end of the day, while nothing I've added in is truly original, putting the bits in the right place to avoid the over-exposed properties makes it feel like an accomplishment and "mine."

I started as a part time professional in the 1945 (I was almost 14!) and, have been a full time pro since 1966. I retired in 2008. I still do a few casual dates. I've never had a problem either.

Magic has been exposed ever since Scot's "Discovery of Magic" was published 500 years ago. (and, most likely before that) The author of my first magic book, "The Magic Show Book" by "Alexander the Magician", was roundly criticized by members of the "Some Are Magicians", and, the "I Bother Magicians", back in the '30s. I happen to be member of both (IBM, since 1950, SAM, since 1975. I was an Associate Member of the Inner Magic Circle--with gold star! (I dropped out, 'cuz I couldn't attend meetings.)

CAMEL cigarettes printed weekly exposes of illusions in the Sunday Comics, in the '30s The "Masked Magician" tipped the gaff on many props, on national television in prime time, a few years ago. Pitchmen, including my good friend, Marshal Brodien, have sold a gezillion Svengali decks. I've pitched a "few" myself.

THAT didn't stop Siegfried & Roy, the Blackstones, Dante, Henning, Copperfield! --or Jay Marshall, Richard Pitchford, et al, either! (I'm one of the "als".)

I was in a "low profile" area of the business. I performed in the "Lyceum area". I did school assembly programs for almost 50 years, coast to coast, and, border to border in HIGH SCHOOLS, ELEMENTARY AND PRIMARY SCHOOLS, and, often in KINDERGARTEN THROUGH HIGH SCHOOLS. I did some COLLEGES, too (And, so did Loring Campbell, C.Thomas Magrum, Stuart Ross, Roy Mayer, J.B. Bobo, et al. None of us were ever 'at liberty". Oh! I even worked the CASTLE a few time, but, as Jay Marshall (who held the record for working the old ED SULLIVAN SHOW) would have said: "That money has all been spent!"

Remember, we are/were "selling" ENTERTAINMENT! Any intelligent person KNOWS that "magic" is not real! Millions still enjoy our sleight of hand, our sensory illusions, our esoteric principles of science, and, the entertainment we create with them.

"Magic is NOT INTRINSICALLY ENTERTAINING! Our 'task" is to make it entertaining with our PRESENTATION. Successful magicians realize that "magic" is "5% sleight of hand skills, 5% sensory illusions, 5% esoteric principles of science, PLUS 85% PSYCHOLOGY!

It's the getting to that point which causes all the trouble. The movement from "a place to be bad" and letting the trick carry the load, to the place we want to be. Aye, there's the rub.

If a novice needs the crutch of having a trick they believe in, something to give confidence until they get their sea legs under them, I think that's OK.

Well, writeall!

Some years ago, (I think it was at an Abbott GTG.) Jay Marshall's agent, Mark Leddy (who was also the talent "buyer" for the old ED SULLIVAN TV SHOW) remarked, when we were discussing the "state of the art", "THERE'S NO PLACE LEFT TO BE LOUSY IN!"

One of the group, an old, well established pro, laughingly replied, 'Heqq no, Mark! I was lousy in two places just last week!" He got a good laugh from the group, mostly old pro's.

Of course, Mark meant that with no small time vaudeville, and with most night clubs, especially small ones, having closed, there was only Las Vegas, and the big rooms left. Those big rooms weren't booking "beginners".

I must agree with you (even if you are from LOWER Michigan!!! (I'm from UPPER Michigan, a genuine YOOPER!!!) hee hee
When I was a 'First 'o' May', I needed that "crutch" too. Fortunately, I found some places to be lousy in! I had carefully selected tricks that had SOME intrinsic entertainment value, that could HELP a novice. I said, "help"! I still had to observe NUMBER THREE! [SEE LAST PARAGRAPH, BELOW!] We didn't have tape recorders in those days, so I couldn't do what my pal Gene Anderson did, 20 years later! (Gene had a cassette recorder with which he recorded EVERY SHOW. Enroute home, he could listen to what he had just done. He would note, for example, how many seconds that a laugh "got", and, later analyze why it may have been a smaller laugh than he had gotten a week previously). He was his own critic, and he was a tough critic! (here comes the "but":::His attention to every detail, PAID OFF! (Maybe you've attended one of his lectures on being a "PART TIME PRO")

When I joined the Navy, I took my "cigar box act" along. An agent, Blackie Norton, set me for a "showing date". I was trying at 20, to be a suave & debonair performer (I wasn't!) The act didn't KILL, but, it went OK, (here's another "but"::: But, the agent said, "That was fine, but, if you can make 'em laugh, I'll get you plenty of work!" Right then, and there, I made a 180 degree turn! I sold the white tie and tails! For the next 3 and 1/2 years, I didn't cash a pay check! I sent the check home to the bank, and, lived on the show money! I was getting paid to learn my trade, and, it got easier and easier, as my act got better and better.

"Non progredi est regredi! Julius Caesar said that! (Not going forward is going backward!)

So! If you want to be a good performer, set your sights high. Select tricks that are relatively easy to perform, at first, and,
find a qualified mentor if possible, BUT (BUT $3) never be satisfied! (Will Rogers said, "I'm PLEASED! --BUT, NOT SATISFIED!"

I've said this many times in this "Café": Jay Marshall and I spent many evenings discussing, "How NOT to be lousy!"

We wrote 3 rules for adding a new trick to one's repertoire;

1. Learn how the trick is DONE!

2. Learn how to DO it!

NUMBER THREE!!! Figure out how to do it so that it ENTERTAINS AN AUDIENCE!!! --THAT'S THE HARD PART!

Thanks for listening!

Billy McComb, at 84 was still audio taping every show and listening to it and analyzing it later that evening. In the Palace, he would have 3 twenty minute shows, and each night he would listen to all three before bed.

I found this original post to be very honest, raw, and relatable. Two things have been making me feel very similar lately: delving more and more into Mentalism (which depends MORE on being perceived as real) and starting to do it for paid work (an internal "am I worth this $" type of question).

I find it so easy to be charming and disarming in casual fun situations. But in professional, paid situations especially performing Mentalism the same anxiety has started to get to me.

My compliments to the original poster. That couldn't have been easy to write.

Agree DynaMix.

I think a certain amount of anxiety is the norm. We are asking for, and seeking, the approval of others when we perform. If that didn't matter, why do it? Getting that approval is wonderfully heady and intoxicating. Not getting it sucks. With those stakes, "nervous" seems rational.

That is the problem with framing the performance in that way. If you seek approval, you are turning the audience into your judges and giving them too much power. You should be considering what it is you have to give the audience, and what you may want in return besides approval if you want to change the dynamic.

The artist doesn't seek approval, but communication. The artist wants to share with the audience what it is that gives joy and meaning in magic.

Pop! YES!

Pop, I've seen you work. You are an extremely talented and entertaining magician. But I think this gives you a certain bias. Approval is the norm in your performances and audiences truly enjoy them. Consider instead someone struggling to reach an acceptable level of professionalism. Do you really mean to say that when this neophyte attempts to communicate the joy and meaning in magic, and fails utterly to connect, that they are not being judged, or that they should ignore the reactions?

In my view, the very thing that makes magic important enough to do is measured by how well it is received. If this were not the case, if a positive audience response wasn't essential, I'd be much more interested in shooting YouTube vids in the garage.

I can't believe that you would be where you are if the reaction to your performance was a universal "Meh." And I fear the "it's my art," while true, can sometimes be a handy excuse when a poor performer's ego overrides what audiences tell them. The real danger is the middle ground. Mixed feedback and a performer who preferentially hears the few voices of approval who "get it," while ignoring the negative majority.

All that said, I am extremely interested in your viewpoint. You are experienced and enlightened in a way I shall never achieve. Were you ever a flop? Did you question, like the original poster, your ability and career choice?

I do think it matters - that we believe in what we do. That we feel it has value. I also think I am not the sole judge of that value - at least not if someone is going to pay me to show up. Remove the audience and I am free to finger-fling coins to my heart's content. When I cook for me, I am the only one eating. But when I serve others, I am asking them to agree and approve my efforts as worthwhile. I am, in a sense, asking to be judged.

I think that is a terrible approach. It is the main REASON inexperienced performers fail. It is always nice to be recognized by the audience and to receive applause or a standing ovation if that is what you want from the audience. But that should not be the impression you give them. You have to fight against this impression in the audience's mind or they will assign it to you automatically.

Audiences will assume that the magician is there to "impress" them and show them how good a magician he is...they suddenly assume the role of judges and have scorecards in their laps. IF they like the performer they have to admit the guy is good and give him a score over five...They have the position of strength, not the performer.

But if the performer comes out with a clear intention to give them a big scare, and frightens them; they will react with applause and laughter BECAUSE you gave them a scare, and it is a much more appreciative kind of applause. In the same way, the performer could win their hearts with a sentimental turn, or pull their legs, or AMAZE them and they will applaud and give the performer approval and acclaim in response to what he gave THEM. He might use many different intents in different routines, sometimes more than one in a single routine.

This is easier for comedians whose main purpose is to make people laugh. They know exactly what they want from the audience and what they want to give them--laughter. Our job is more complicated.

We magicians need to focus our intention from the moment we set foot upon the stage on what we intend to do for this group and keep our focus moving from one intent to another so that they never FEEL as if the performer is there FOR their approval, or NEEDS it.

This is how the performer frames his relationship to the audience.

We may make people laugh. We may make them think. We may scare them. We may do a number of things to them and for them. But as magicians, our overriding goal should be to blow their minds. To leave them amazed. Everything should be sublimated to this one goal.

Remember, I had to start off bad, too. I have learned a lot about what I did wrong back then from experience and through the help of others.

A magician is an actor, even if he is playing himself. He needs to know what he is doing and why. He needs to have a backstory of why he is here with this particular group, and what he wants to accomplish with them why. What does he want from them? Why does he want it? Most magicians don't really work out these very basic elements of story and the craft of acting.

I have learned a better approach now, I think. If its useful to you, I am happy.

Thank you, thank you, thank you. I will read that many times. It is phenomenally helpful to see things from your perspective.